Los Angeles Times' Scores

For 7,892 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Boy Meets Girl
Lowest review score: 0 Chaos
Score distribution:
7,892 movie reviews
  1. Nothing that Davies does is ordinary or artless but his craftsmanship has its suffocating side too.
  2. Made with assurance and deep emotion, Fruitvale Station is more than a remarkable directing debut for 26-year-old Ryan Coogler. It's an outstanding film by any standard.
  3. Illuminating, poignant and heartening.
  4. Not merely affecting and illuminating; it concludes on a note of hope.
  5. Restrained yet powerful, devastating in its emotional effects.
  6. Josh Aronson's Sound and Fury, as illuminating and comprehensive as it is heart-wrenching, is an example of what the documentary can accomplish at its most vital and engaging.
  7. Working with excellent site-specific music and this trio of exemplary -- and exceptionally well-cast -- actresses, director Bertuccelli does a superb job of touching just the right emotional notes in recounting the consequences of deception and the importance of family.
  8. Cassavetes' riveting film not only re-creates the glory days of the Z Channel through a generous offering of film clips and interviews, but also presents a clear-eyed portrait of its creative driving force, Jerry Harvey, and the tragic circumstances of his death.
  9. In Holy Motors Carax insists on our other selves. His daylong ride is a wary celebration, a joyful dirge that's served up in concentrated form by a roving band of accordion players. It's all in a day's work.
  10. Catches you up so firmly in its world that you find yourself accepting whatever Thornton presents right up to its deeply ironic finish.
  11. What results is a captivating portrait of the most gorgeously fractious dysfunctional family.
  12. It's a provocative, absorbing — and at times dicey — study.
  13. The riveting documentary In the Shadow of the Moon, is an unexpected knockout.
  14. To come across Classe Tous Risques is like discovering a bottle of marvelous French wine you didn't remember you had, opening it and finding it every bit as delicious as its reputation promised. That's how good this classic fatalistic French gangster film is.
  15. Made with palpable energy, intensity and excitement, it compellingly creates a world gone mad that is uncomfortably close to the one we live in. It is a "Blade Runner" for the 21st century, a worthy successor to that epic of dystopian decay
  16. A darkly compelling film from Austria, can be viewed as either a thriller with psychological overtones or a psychological drama with thriller elements.
  17. Although overly long at 107 minutes, American Movie is an incisive, largely absorbing work and a far more mature effort than Smith's "American Job."
  18. Offers up a subversive comic sensibility, one that somehow combines Buster Keaton's deadpan stare with Frank Capra's tireless optimism and filters them both through a black-ice Finnish point of view. Welcome to Aki World.
  19. Here the writer-director's tendency toward the allegorical casts a magical spell with Anderson finding a near perfect balance between the humanism and the surreal that imprints all of his work.
  20. Visually as pleasing as it sounds.
  21. One of the real pluses of Up the Yangtze, aside from its empathy with its subjects, is its striking visual quality. Beijing-based cinematographer Wang Shi Qing has an impeccable eye, often coming up with haunting images that show both the beauty and uncertainty of this pivotal time.
  22. The actors, many of whom are part of a loose Mike Leigh stock company, are miraculously deft at erasing that line between performing and being.
  23. A remarkably thoughtful drama, Lantana makes it clear not only how hard to come by any emotional comfort is in this life, but more important, why we can't give up on the struggle.
  24. What makes Seraphine, directed and co-written by Martin Provost, so exceptional is that it neither condescends to nor romanticizes its subject.
  25. 49 Up is more than a deeply satisfying movie; it's a reminder of the wonder contained in ordinary lives.
  26. Naked is a mesmerizing character study, an attempt to stretch the emotional boundaries of truth on film as far as they will go. For once we think we've seen as much of Johnny as we can take, like an etching by Escher we start to see something else, a glimpse of another person easily missed.
  27. Broadcast News is so diabolically clever that you rather expect it to be heartless, in the way that so much surface cleverness can be. No such thing. Heartless is the wrong word for this movie: It's insightful and understanding and marvelous fun, while giving up none of its thoughtfulness. [16 Dec 1987, p.1]
    • Los Angeles Times
  28. There's nothing terribly wrong with Milk, it's just that its celebration of a culture and a neighborhood, its valentine to the early days of gay rights activism, is mostly more conventional than compelling.
  29. A savage comedy about the war in the former Yugoslavia that artfully mixes comic absurdism with a passion for what's right and a concern for the individuality of all concerned.
  30. Raises it to the level of an art film with fully drawn characters, a serious underlying theme, and a sophisticated style and point of view.

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